Advances in Social Science, Education and Humanities Research, volume 600

Proceedings of the 3rd International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2021)

Architectural Composition and Zeitgeist

Armen S. Sardarov1,*
1
Architectural Faculty, Belarusian National Technical University, Minsk, Belarus
*
Corresponding author. Email: sardarov@bntu.by

ABSTRACT
The use in architecture of certain compositional techniques was always connected with the ideology dominating
in the society. Regularity, static character, symmetry or imbalance, dynamics expressed the notion great Goethe
called Zeitgeist – time spirit.

Keywords: Composition, Rhythm, Symmetry, Spirit of time.

1. INTRODUCTION 2. ANCIENT IDEA OF

Spatial environment arranged and governed by
human, provides the conditions for human life-
sustaining activity. At the same time, this
environment affects humans, forms their visual
impressions, determines the character of
psychological reactions and physical actions. Of
primary importance is the fact that initially “empty”
natural space is arranged, developed, streamlined.
a b
COMPOSITION
Human great mythologies and religions reflect
this transition. Ancient Greek poet Hesiod in his
“Theogony” writes that at first there was “chaos”
[Theog. 116]. The same idea is present in the Old
Testament: “Earth was waterless and bare…”
[Genesis, chapter 1, 2]. Then heavenly actions
followed to reorganize this chaos, to fill the void. In
this overarching idea of appearance of organized
world there is a thought about the introduction of
order, a system into the world. That was exactly
what the first architects of humanity were doing
("Figure 1"a, b).

Figure 1 Ancient buildings with used architectural composition. a - Gobokli-Tepe. Turcey. b - Parthenon.
Greece.

In the oldest constructions we can notice the
first compositional techniques, i.e. spatial stability
based on the correlation of load-bearing and
suspended elements and regularity of recurrence,
e.g. recurrence of supports or masonry.
These both constructive and compositional
techniques became the main principles and ideas of
architecture. Such compositional principles as
balance, symmetry, regular recurrence were used
not only in architecture but also in other arts, e.g.
visual arts (ornamental rhythm), music, poetry

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 Advances in Social Science, Education and Humanities Research, volume 600
(stress, rhyme) etc. These compositional elements
had an impact on a person, created a psychological
comfort, feeling of recognition and confidence.
These principles of external “order” become
important not only in arts but in the arrangement of
human communities, even states. That is what
Plutarch writes about it: “Phalet did the same as the
best legislators. His songs appealed to obedience
and conformity through melodies and rhythms
which contain some organized order” [Vitae
parallelae, Lycurgus, 4]. Moreover, it was believed
that “discordant and wrong sounds can cause
disintegration of the state” [Ib, Agidius, 10].
3. EPOCHS OF CHANGES IN THE
HISTORY OF ARCHITECTURE
Thus, in architecture as well as in other spheres
of life, “order”, “system”, “balance”, “regular
recurrence” become important principles and even
embody “higher forces” which govern people.
Compositional elements acquire importance in the
functioning of the system, i.e. LIFE OUTLOOK -
WORLD PERCEPTION – INDIVIDUAL –
SOCIETY. It’s no wonder that in historical epochs
of changes, rebuilding the implementation of these
principles loses its importance and even becomes
impossible. It refers to architecture, which renders
Zeitgeist in the best way possible. It was in the
epoch of “riot of Baroque” which reflected the
struggle between Catholicism and Reformation,
when austere and balanced classical forms of the
Renaissance acquired curves and decorative
components.
The development of the European civilization in
the XVI-XVII centuries took place while the
Christian religion in its Western Catholic form was
dominating. However, at that time Catholicism was
in conflict with Reformation which was the basis of
Protestantism. The same time was the period of the
development of civic sciences, i.e. philosophy,
physics, mathematics, astronomy (Descartes,
d’Espinoza, Newton, Kepler and others).
Social and economic base had also changed.
Although absolutism and feudal social structure
was still dominant, craft activity and market
relations were developing.
It was this social, economic and intellectual
context that changed the character of people’s
world perception, which found its reflection in arts
and architecture. Classical traditions expressed in
Renaissance with its recognizability and
“correctness” of forms, were challenged.
Variability, imbalance, dynamics appeared.
Architectural forms of the buildings with
geometrically straight walls, cornices, gable,
frontons while remaining in the former
compositional limits, started to crook and “swim
into endlessness”…
New forms still served as a psychological
message to a person aimed at attracting attention
and even domination. The researcher writes that
baroque forms “fascinate, stupefy, smash” [1]
In the XVII-XVIII centuries an important role
in the process of impact on people was played by
synthesis of architecture with painting sculpture,
decorative arts (ornamental patterns, stucco etc.).
The degree of this synthesis is evaluated by the
scientist: “Architecture became sculptural,
sculpture became part of architecture” [2].
The end of XIX – early ХХ centuries is
characterized by great changes in geopolitical,
social, economic and cultural life the people.
National and class antagonism between and within
the states aggravated, which led to wars and
revolutions. Changes took place in the world of
literature, arts, architecture. The creators started to
move from classical, “correct” forms to
experiments with composition, colours, shapes.
Thus, trends of the style which is called avant-garde
appeared, i.e. futurism, constructivism, modernism,
abstract art.
Dynamics and unbalance of avant-garde started
to destroy the habitual stability and regular
recurrence of architectural forms. Titus Burckhardt
spoke about it when he specified the universal
character of rhythm: “Strictly speaking, rhythm
does not belong to space but time. Therefore,
rhythm is not a quantitative category, but a
qualitative one” [3].
4. IDEAS OF XX – XXI CENTURIES
Deep connection between architectural style,
social and cultural state of the society can be traced
by the architectural development of the capital of
Belarus, Minsk, in the ХХ- ХХI centuries. The 20s-
30s of the last century were characterized by post-
revolutionary upheaval, social dynamics. This
atmosphere, i.e. Zeitgeist, added to the architecture
of buildings imbalance, irregular rhythm of
structures and fenestration ("Figure 2"a, b).
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a b

Figure 2 Buildings in Constructivism style. Minsk. Belarus.

It is known that by the 30s social climate started Langbard to design a building in which separated
to change. The movement to the stability of the constructivist structures combine d in symmetrical
state encouraged the famous architect Iosif composition. ("Figure 3"a, b).
a b

Figure 3 Work of architect Langbard “Government House”. Minsk. Belarus.

Another radical change took place at the end of the epoch? What is romanticism? These are art
the 40s when strife for stability found its expression trends, which expressed the notions most required
in neo-classical architecture. This is clearly seen in by the spiritual atmosphere” [5].
the architecture of if the main thoroughfare of the
city (Prospect of Stalin, Lenin, Francisk Skarina,
Independence now). This is what a Belarusian art
expert writes about the spirit of its architecture:
“Large scale of solid buildings which firmly barrier
the mainstream of the avenue, convey a sense of
steady composure. The building outlines are austere
and clear-cut” [4].
In these ensembles of the 40s-50s of special
importance were classical decisions of facades with
portico – like excerpts from classical antiquity with
their “faces of gods” which were embodied by
these facades. Axial symmetry, balanced forms
created the feeling of confidence and composure
which was required by the spiritual atmosphere of
society ("Figure 4"a, b). The connection between a
dominating style and social state is well described
by talented philosopher and psychologist Carl
Gustav Jung: “What is realism and naturalism for

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a a

Figure 4 Classic ideas in XX century. Minsk. Belarus.

But as early as at the end of the 80s the society symmetry, the rhythm of columns is austere and
aspired after stability, permanence which is clear-cut as if calling for preservation of spiritual
represented by the architecture of the Palace of atmosphere on the eve of perestroika ("Figure 5").
Independence. In its composition there is axial

Figure 5 Neo-classic idea in XXI century. Minsk. Belarus.

5. CONCLUSION is broken. Composition of structures loses their

balance and creates dynamic tension ("Figure 6"a,
The beginning of the XXI century with its b, c). Therefore, by means of symbolic
reevaluation, life outlook and world perception compositional and artistic language architecture
created “spiritual microclimate” for the appearance once again expresses world perception of its epoch,
of new architecture. Stability and steady rhythm thus embodying Zeitgeist.
became irrelevant. The rhythm of window aperture
a b c

Figure 6 Non – balanced architecture of XXI century. Minsk. Belarus.

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AUTHOR'S CONTRIBUTIONS
This paper is independently completed by
Armen S. Sardarov.

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